Difference and Discipline: The Cage/Cunningham Aesthetic Revisited.
Indeterminacy, fluidity, anarchy, the non-hierarchical, the multiplex: these have usually been understood as the attributes of John Cage's and Merce Cunningham's musical and dance pieces, so many of which were made in collaboration. But to study the works themselves rather than the artist's statemen...
| Publicado en: | Contemporary Music Review Vol. 31; no. 1; pp. 19 - 36 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Feb2012
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=79468566&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 79468566 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 07494467 7VR jtl: Contemporary Music Review issn: 07494467 maglogo: N pubinfo: dt: Feb2012 vid: 31 iid: 1 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 79468566 10.1080/07494467.2012.712281 ppf: 19 ppct: 17 formats: fmt: – @attributes: type: T – @attributes: type: P size: 236KB tig: atl: Difference and Discipline: The Cage/Cunningham Aesthetic Revisited. aug: au: Perloff, Marjorie su: Aesthetics Indeterminism (Philosophy) Anarchism Choreography Philosophy Political doctrines sug: subj: Aesthetics Indeterminism (Philosophy) Anarchism Choreography Philosophy Political doctrines keyword: Anarchy Avant-Garde Cage Chance Cunningham Decenteredness Infrathin Rule ab: Indeterminacy, fluidity, anarchy, the non-hierarchical, the multiplex: these have usually been understood as the attributes of John Cage's and Merce Cunningham's musical and dance pieces, so many of which were made in collaboration. But to study the works themselves rather than the artist's statements of intention is to understand that theirs is in fact a simulated or regulated anarchy, a ‘natural’ form that turns out to be highly controlled and designed by the two artists. What Cage called ‘purposeless play’—‘a way of waking up to the very life we're living’—is planned down to the last detail as is Cunningham's choreography of decenteredness and “natural” movement. What is presented as open form turns out to be a rule-based practice. Indeed, it is the very combination of authorial control and simulated anarchy that makes such works as Roaratorio (Cage) and Walkaround Time (Cunningham) genuinely new, subversive, and radical vis-à-vis earlier music and dance. These works, with their renewal of what Marcel Duchamp called the infrathin, thus provide paradigms for avant-garde practice in the late twentieth century. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Contemporary Music Review is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Contemporary Music Review holder: Taylor & Francis Ltd dt: @attributes: year: 2012 holdings: @attributes: islocal: N |
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